Conde Nasthttp://www.adweek.com/taxonomy/term/2184/all
enCondé Nast's New In-House Native Ad Studio Debuts Its First Campaignhttp://www.adweek.com/news/press/cond-nasts-new-house-native-ad-studio-debuts-its-first-campaign-166024
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/2015_Jul/bon-appetit-hed-2015.jpg"> <p>
Six months after its <a href="http://www.adweek.com/fishbowlny/conde-nast-journalists-to-create-ads/330084" target="_blank">buzzy launch</a>, Cond&eacute; Nast&#39;s in-house native ad unit, 23 Stories, which allows advertisers to work directly with the publishing company&#39;s editors, is finally unveiling its first campaign: a Bon App&eacute;tit cover sponsored by Samsung.</p>
<p>
The front of the four-page cover unit, Bon App&eacute;tit&#39;s first-ever sponsored cover and the second for Cond&eacute; Nast (Teen Vogue ran a <a href="http://www.adweek.com/news/press/teen-vogue-debuts-cond-nasts-first-sponsored-cover-ad-164185" target="_blank">Tresemm&eacute;-branded cover</a>&nbsp;in April), resembles a Samsung refrigerator that can be &quot;opened&quot; to display a fully stocked fridge with food-storage and cooking tips, courtesy of Bon App&eacute;tit&#39;s editors. On the following page, there&#39;s advice on how to buy the season&#39;s best tomatoes, just like the ones featured on the issue&#39;s main cover. The ad will only appear on subscriber covers.</p>
<p>
Although Samsung is an existing sponsor of Bon App&eacute;tit&#39;s Cook Like a Pro online-video and recipe series, there&#39;s no specific digital component to its cover campaign.</p>
<p>
&quot;When we set about to create 23 Stories, we said we would work across the entire asset stack, and that obviously includes print, as well,&quot; said Cond&eacute; Nast CMO Edward Menicheschi, who added that the group&#39;s upcoming projects will be largely focused on video and digital.</p>
<p>
So far, 23 Stories has signed eight clients since it was created in January with the goal of giving advertisers direct access to the company&#39;s magazine editors rather than bringing in outside editors to work specifically on branded content. While the breakdown of the ad-edit divide marked a major step for Cond&eacute; Nast, it&#39;s becoming an increasingly common move in the magazine industry, with companies like Hearst and Time Inc. having already created similar branded content divisions.</p>
<p>
Also becoming more common are sponsored covers, once considered ethically verboten under ASME&#39;s native ad guidelines, which included statements like &quot;Don&#39;t Print Ads on Covers&quot; and &quot;Don&#39;t Ask Editors to Write Ads.&quot; Still, titles including Marie Claire, Time and Forbes all experimented with various forms of cover ads over the past year, and just a few months ago, ASME officially updated its guidelines to loosen restrictions on native ads.</p>
<p>
According to Menicheschi, there&#39;s been &quot;zero backlash&quot; from readers about Cond&eacute;&#39;s early forays into sponsored covers.</p>
<p>
&quot;I think consumers are smart. They get what the messaging is about,&quot; he said&mdash;at least, he added, as long as that messaging meets Cond&eacute; Nast&#39;s visual standards. &quot;What&#39;s more unforgivable is something that doesn&#39;t look particularly good. &hellip; If something was really unattractive, I might hear about that.&quot;</p>
The Press23 StoriesBon AppetitConde Nastcover adsnative advertisingEmma BazilianMagazineTue, 21 Jul 2015 17:06:04 +0000166024 at http://www.adweek.comPopcart Makes Bon Appétit and Epicurious Recipes Shoppablehttp://www.adweek.com/news/press/popcart-makes-bon-app-tit-and-epicurious-recipes-shoppable-165211
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/bon-appetit-popcart-hed.jpg"> <p>
Bon App&eacute;tit and Epicurious&#39; 35,000 recipes are about to get a whole lot easier to make at home. Cond&eacute; Nast&#39;s Food Innovation Group&mdash;which includes both Bon App&eacute;tit and Epicurious, as well as The Shoppers Network&mdash;is announcing a partnership with Popcart, a digital service that makes recipes &quot;shoppable&quot; by converting ingredients into a list of items that can be purchased through online grocers.</p>
<p>
&quot;For years, Bon App&eacute;tit and Epicurious have been bringing recipes directly into the home for the cook,&quot; said Pamela Drucker Mann, publisher and CRO of the Food Innovation Group. &quot;Now, we have arranged for the ingredients to arrive directly in your kitchen.&quot;</p>
<p>
The partnership&mdash;Popcart&#39;s first with a publisher since it launched last summer&mdash;will allow consumers to buy ingredients for all Bon App&eacute;tit and Epicurious recipes across desktop, tablet and mobile sites, as well as the brands&#39; apps, when it goes live June 18. Fresh Direct, Peapod and Roche Brothers will provide e-commerce fulfillment. Later this year, the Popcart integration will also expand to the U.K., with Sainsbury&#39;s as its retail partner.</p>
<p>
&quot;People go to Bon App&eacute;tit and Epicurious to find the best recipes on the web&mdash;recipes that should become great meals, not simply added in a sea of bookmarks saved online,&quot; Popcart co-founder Hillary Mickell said in a statement. &quot;Popcart removes the friction from shopping for recipes, making meal planning easier than ever before.&quot;</p>
<p>
The Food Innovation Group, which was created last fall with the merger of Bon App&eacute;tit and Epicurious&#39; business sides, has 20 million users a month, according to Cond&eacute; Nast&#39;s internal Omniture stats. The group&#39;s properties currently put out about 75 recipes each month between print and digital, all of which will feature the Popcart integration.</p>
The PressFood & BeverageAppsBon AppetitConde NastEpicuriousEmma BazilianFreshDirectOnlinePopcartMagazineMon, 08 Jun 2015 12:00:02 +0000165211 at http://www.adweek.com5 Things Editors and Publishers Can Do to Survive Digital Disruptionhttp://www.adweek.com/news/technology/5-things-editors-and-publishers-can-do-survive-digital-disruption-165193
Adam Rapoport<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/voice-adam-rapoport-01-2015.jpg"> <p>
About a year ago, I stopped referring to Bon App&eacute;tit as a magazine and started calling it a brand. Six months later I even dropped the air quotes. Not that it was easy.</p>
<p>
If you attended journalism school or worked for your college daily, you were reared on the separation of church and state. Editors edited, publishers sold ads. Period. But college was a while ago. The mediascape is so competitive and fractured these days, you can&#39;t not be in sync with your publisher&mdash;across all channels. And, man, there are a lot of channels. It&#39;s like we&#39;re DirecTV.</p>
<p>
At Bon App&eacute;tit we publish a monthly magazine, run a 24-7 <a href="http://www.bonappetit.com/" target="_blank">website</a>, crank out active Twitter and Instagram feeds, shoot weekly videos, produce special issues, publish cookbooks, record podcasts, orchestrate food festivals and throw really groovy dinners in our fancy-pants dining room at One World Trade Center. So yeah, we&#39;re a lot more than just a magazine. We&#39;re absolutely a brand. Or at least we strive to be. The question is, how do those of us formerly known as magazines operate on all these platforms while maintaining quality control and staying on message? What&#39;s the secret? I wish I knew.</p>
<div class="news-article-image" style="margin: 15px 0px 15px 15px; float: right;">
<img src="http://www.adweek.com/files/2015_Jun/Adam-Rapoport-01-2015.jpg" />
<p class="caption">
Adam Rapoport&nbsp;<span class="meta-credit">Illustration: Alex Fine</span></p>
</div>
<p>
What works on one platform often doesn&#39;t on another. In Bon App&eacute;tit (the magazine) we deliver a &quot;premium&quot; experience&mdash;lush visuals, rigorously tested recipes, far-flung destinations, highly curated goods and access to personalities we all wish we could be&mdash;or at least have a drink with.</p>
<p>
But video&mdash;which is where the money&#39;s at these days, right?&mdash;is completely different. It&#39;s all about cheap and cheerful, we&#39;re told&mdash;food hacks, wacky trends and other YouTube favorites. None of which feels very, well, Bon App&eacute;tit (the magazine).</p>
<p>
And take our <a href="https://twitter.com/bonappetit" target="_blank">Twitter</a> and <a href="https://instagram.com/bonappetitmag/" target="_blank">Instagram</a> feeds (800K and 600K strong, respectively). The breezy and clever voice that propels these platforms doesn&#39;t fly on our more straight-down-the-middle <a href="https://www.facebook.com/bonappetitmag" target="_blank">Facebook page</a> (790K). And while our Twitter and Instagram accounts feel, to me, much truer to what Bon App&eacute;tit is all about, Facebook drives eight times the amount of traffic to our website than those other two platforms combined.</p>
<p>
And about that website. Since we relaunched it in 2011, it has grown from 750,000 monthly uniques (according to Omniture) to nearly 6 million. Though, I wish I could say it&#39;s our thoughtful chef profiles or well-produced videos that rack up the big numbers. But the top-tracking story on the day I was writing this article was&mdash;wait for it&mdash;&quot;Dinner Tonight: 7 Things to Do With Ground Beef.&quot;</p>
<p>
And therein lies the challenge of running a publishing brand&mdash;you&#39;re all over the place, which, to an extent, is the point. And eventually, as a staff, you embrace this reality. You view it not as a burden but as a chance to create amazing visuals and narrative across many platforms. And you come to terms with the fact that you&#39;ll like some of it better than others, and some will be hits and some misses.</p>
<p>
Above all, you&#39;ve got to be consistent. You&#39;ve got to care as much about that 140-character Twitter post as that 1,400-word profile in your magazine. You need to approach everything you create with the same philosophy and same spirit.</p>
<p>
It&#39;s a challenge. And always will be. But here are five things I tell my team at Bon App&eacute;tit to help us stay on the front burner:</p>
<p>
<strong>Follow your gut</strong>. If you love something and are genuinely passionate about it, write about it. Chances are the reader (or viewer or user or listener) will be too.</p>
<p>
<strong>Ask yourself, would I read that? </strong>If something doesn&#39;t make me smile or laugh or make me hungry, then why is it featured in our magazine or on our Instagram feed? We are a food lifestyle brand after all. Whatever content we create should be fun&mdash;no matter the platform.</p>
<p>
<strong>Study the metrics.</strong> We need to understand how various platforms work. But we should never let metrics dictate the stories or videos we create. As soon as you start listening to focus groups and daily stat reports, you&#39;ve sold your soul and will never find your way to anything genuine or interesting. You&#39;re only rehashing what&#39;s already been done rather than inventing. You are making the equivalent of a lame Hollywood sequel. No one will watch.</p>
<p>
<strong>Remember, every platform matters.</strong> We can&#39;t control whether someone will access our content through a Google search or at the newsstand or on social or at an event we produce. It all needs to be consistent and true to who we are. It all needs to feel Bon App&eacute;tit.</p>
<p>
<strong>When in doubt, follow Rule No. 1. </strong>Editors know when they&#39;re on to something cool and when they&#39;re just phoning it in. And so do their readers (and users and viewers).</p>
<p>
So that&#39;s how we run things at Bon App&eacute;tit, the brand. Is it a recipe for success? I hope so.</p>
<p>
<em>Adam Rapoport (<a href="https://twitter.com/rapo4" target="_blank">@Rapo4</a>) is the editor in chief at Bon App&eacute;tit and was dubbed the &quot;silver fox of the food world&quot; by Bravo&#39;s Andy Cohen.</em></p>
Advertising & BrandingTechnologyAdam RapoportadviceBon AppetitConde NastAdam RapoportFood IssueInstagramlifestyle magazinesMagazine ContentSocial MediaTwitterVoiceMon, 08 Jun 2015 01:27:23 +0000165193 at http://www.adweek.comWhat Happens When a Group of OMD Execs Jumps Ship and Moves to the East Villagehttp://www.adweek.com/news/advertising-branding/what-happens-when-group-omd-execs-jump-ship-and-move-east-village-165048
Noreen O'Leary<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/giant-spoon-01-2015.jpg"> <p>
<img alt="" src="/files/uploads/SPACER-652.gif" style="width: 10px; height: 1px; " /><br />
<u><strong>Specs</strong></u><br />
<strong>Who</strong>&nbsp;From left: Co-founders Jonathan Haber, Marc Simons, Trevor Guthrie and Alan Cohen<br />
<strong>What</strong> Media and content agency<br />
<strong>Where</strong> East Village, N.Y. and Los Angeles, Calif.</p>
<p>
<a href="http://www.giantspoon.com" target="_blank">Giant Spoon,</a> launched by former OMD media execs, has been in business for just over a year but already works for marketers like GE, HP, Lincoln Motor Co., Lego, Amazon and Cond&eacute; Nast. The agency combines creativity in strategy with its understanding of media, technology and culture.</p>
<p>
&quot;We want to elevate the thinking not so much for just media executives but for marketing CMOs. We do a lot of consulting and offer a lot of ideas and strategy,&quot; according to co-founder Alan Cohen.</p>
<p>
For <a href="http://www.adweek.com/news/advertising-branding/how-david-maddocks-putting-spring-cole-haan-s-step-164463" target="_blank">Cole Haan,</a> Giant Spoon created a native ad that ran on The New York Times website featuring a New York City ballerina. For NBC&#39;s The Voice, viewers became judges through a virtual Oculus Rift experience. Giant Spoon&#39;s java-loving co-founders named the shop after their favorite addiction as well as the place saver for a coffee bar extension.</p>
Advertising & BrandingAmazonCole HaanConde NastGeneral ElectricGiant SpoonNoreen O'LearyLegoLincoln Motor Co.Magazine ContentNBC's The VoiceOculus RiftPortraitThe New York TimesMon, 01 Jun 2015 23:50:00 +0000165048 at http://www.adweek.comLucky Magazine Goes Quarterlyhttp://www.adweek.com/news/press/lucky-magazine-goes-quarterly-164848
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/joan-smals-01-2015.jpg"> <p>
Reports of Lucky magazine going all-digital have been a staple of the media rumor mill for several years, with WWD <a href="http://wwd.com/media-news/publishing/eva-chen-exiting-lucky-conde-nast-10120094/" target="_blank">reporting</a> just last month that the brand would be closing its print business in the wake of editor in chief Eva Chen&#39;s <a href="http://www.adweek.com/news/press/eva-chen-departs-lucky-brand-reportedly-going-all-digital-164429" target="_blank">planned departure</a>. Today, The Lucky Group is putting those rumors to rest (for the time being, at least) by revealing a major revamp that will see the magazine continue on, but as a quarterly publication rather than a monthly one.</p>
<p>
&quot;The shift to a quarterly matches the consumer habits and also offers a unique value proposition,&quot; Josh Berman, CEO of The Lucky Group, told Adweek in an email. &quot;What differentiates us in the marketplace is print&mdash;as content and commerce converge, we&#39;re seeing the fashion industry use print as a differentiator and as a tool to reach the audience/customer in a different way.&quot;</p>
<p>
The new Lucky, which will debut with a September issue at the end of the summer, will have a more &quot;premium &#39;collectible&#39; feeling&quot; with upgraded paper stock, said Berman. Further details about the quarterly&#39;s circulation, distribution and advertisers have yet to be revealed, although the company confirmed the May issue will be the last in Lucky&#39;s current incarnation and that Cond&eacute; Nast will continue to print and distribute the publication. (Cond&eacute; will also remain a shareholder and board member for the time being.)</p>
<p>
Content-wise, executive editor Leigh Belz Ray described the quarterly as a cross between the current Lucky and the brand&#39;s annual Special Interest Publication. &quot;The feedback we&#39;ve gotten from readers is that they like to have something that has a special feel to it,&quot; she said. &quot;We want to make a really beautiful product that they&#39;ll want to keep on their coffee table and hold onto for a long time.&quot;</p>
<p>
On the digital side, said Berman, &quot;We really plan to really invest in the team and the site infrastructure to increase output and streamline our content-to-commerce workflow,&quot; which includes continuing to grow the Lucky Shops e-commerce platform that launched in February. Since then, LuckyShops.com has seen a 55 percent increase in traffic, per the company.</p>
<p>
Video will also be a big focus in the coming months. &quot;I think it&#39;s part of the DNA of Lucky to see the editors really front and center and be really voice-y and service-y, and that&#39;s something that video does in a way that other mediums don&#39;t do,&quot; said digital editorial director Verena von Pfetten, who added that Lucky&#39;s new offices in Manhattan&#39;s Flatiron district, where the team plans to move in July, will include a 3,000-square-foot photography and video studio. &quot;As we are shooting all the products [for e-commerce] and shooting original stories, we&#39;ll also be creating more video and original how-to content around that.&quot;</p>
<p>
The restructuring will result in layoffs on both the editorial and business sides of The Lucky Group, with around 10 people expected to depart. (Another 10 <a href="http://fashionista.com/2015/02/lucky-lays-off-10" target="_blank">were laid off</a> earlier this year.) Also exiting is president Gillian Gorman Round&mdash;formerly general manager of Lucky&mdash;who will be &quot;returning to her creative marketing roots,&quot; per a spokesperson. Editor in chief Chen will remain with Lucky through the transition and will likely depart later this summer.</p>
<p>
Meanwhile, The Lucky Group is currently in talks with several outside companies that are &quot;very interested&quot; in either forming a joint venture with or acquiring Lucky. An official announcement is expected this summer.</p>
<p>
Lucky was launched by Cond&eacute; Nast in 2000 as &quot;the magazine about shopping.&quot; The title was an early hit, but circulation and ad pages began to decline in recent years as readers increasingly turned to digital outlets for their shopping-related content. Amid rumors of Lucky&#39;s demise, Cond&eacute; <a href="http://www.adweek.com/news/press/lucky-shake-puts-focus-e-commerce-146598" target="_blank">brought in Round</a>, a former Lanc&ocirc;me marketing executive, <a href="http://www.adweek.com/news/press/cond-nast-swaps-lucky-editor-150448" target="_blank">and Chen</a>, most recently the beauty editor of Teen Vogue, to revive the brand. Finally, last August, it was announced that Lucky <a href="http://www.adweek.com/news/press/lucky-spins-cond-nast-lucky-group-159431" target="_blank">would spin off</a> from Cond&eacute; and merge with e-commerce company BeachMint (of which Berman was co-founder and CEO) to form The Lucky Group.</p>
The PressConde NastLuckyOnlineMagazineTue, 19 May 2015 17:04:13 +0000164848 at http://www.adweek.comEva Chen Departs Lucky, Brand Reportedly Going All-Digitalhttp://www.adweek.com/news/press/eva-chen-departs-lucky-brand-reportedly-going-all-digital-164429
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/2015_Apr/lucky-chen-hed-2015.jpg"> <p>
Almost two years after being handpicked by Anna Wintour to revive ailing Cond&eacute; Nast brand Lucky, editor in chief Eva Chen is leaving the magazine.</p>
<p>
The <a href="http://www.adweek.com/news/press/lucky-editor-eva-chen-makes-case-shopping-magazine-152100" target="_blank">famously social-media-savvy</a> editor <a href="https://instagram.com/p/2GsH9uvPbG/?taken-by=evachen212" target="_blank">chose Instagram to make her announcement</a>&nbsp;today, writing, &quot;This morning I made the extremely personal and difficult announcement to my team that I will be transitioning from @luckymagazine in the coming months. The brand will continue on, and I&#39;ll be leading it into its new chapter [before leaving].&quot;&nbsp;</p>
<p>
Reports of Chen&#39;s departure from Lucky <a href="http://wwd.com/media-news/publishing/eva-chen-exiting-lucky-conde-nast-10120094/" target="_blank">first surfaced last night via WWD</a>. Sources also told the publication the magazine is also going all-digital&mdash;which has often been rumored in the past few years&mdash;and that &quot;several investors in Silicon Valley have been interested in an acquisition&quot; of The Lucky Group, which was created as a joint venture between Cond&eacute; Nast and e-commerce platform BeachMint.</p>
<p>
According to WWD, The Lucky Group president Gillian Gorman Round is also likely to exit.&nbsp;</p>
<p>
Cond&eacute; Nast first launched Lucky in 2000 as a shopping magazine. But the brand&#39;s popularity among both readers and advertisers began to wane in recent years as e-commerce and fashion blogs made Lucky&#39;s catalog-like market coverage increasingly superfluous, leading to whispers within the industry that Cond&eacute; was planning to shutter the magazine, or at least transition it to an all-digital brand.</p>
<p>
Yet the magazine soldiered on, undergoing a major management change in early 2013 when Cond&eacute; Nast booted its vp, publisher Marcy Bloom and <a href="http://www.adweek.com/news/press/lucky-shake-puts-focus-e-commerce-146598" target="_blank">installed former L&#39;Or&eacute;al exec Gorman Round</a> as general manager. Several months later, with Anna Wintour now acting as Cond&eacute;&#39;s artistic director, Lucky&#39;s editor in chief Brandon Holley was <a href="http://www.adweek.com/news/press/cond-nast-swaps-lucky-editor-150448" target="_blank">replaced by Chen</a>, a Wintour favorite who had recently worked at Teen Vogue.</p>
<p>
This past August, Lucky&#39;s fate as a magazine came into question again when Cond&eacute; spun off the brand as an independent company with an e-commerce focus. However, the (increasingly slim) magazine continued to publish monthly, with Chen&mdash;now chief creative officer of The Lucky Group&mdash;at its helm.</p>
<p>
Meanwhile, Lucky finally launched its long-awaited e-commerce-meets-editorial site, Lucky Shops, in February&mdash;just a few days after <a href="http://fashionista.com/2015/02/lucky-lays-off-10" target="_blank">axing 10 employees</a>.&nbsp;According to Chen, Lucky Shops has been a success so far, even as the audience for the magazine&#39;s print and digital editions has declined (by 7.4 percent in the first quarter of 2015 versus 2014, per MPA). &quot;The site, under [editor Verena von Pfetten&#39;s] leadership, has doubled,&quot; Chen&nbsp;<a href="https://twitter.com/evachen212" target="_blank">said via Twitter&nbsp;</a>this afternoon. &quot;We have been consistently selling out of merchandise on our e-commerce platform.&quot;</p>
<p>
She then added, &quot;The brand lives on&hellip; I&#39;m a @#luckygirlforlife and I feel proud to be one.&quot;</p>
<p>
Cond&eacute; Nast declined to comment, and Lucky could not immediately be reached.</p>
The PressAnna WintourConde NastEva ChenGillian Gorman RoundLuckyEmma BazilianThe Lucky GroupMagazineThu, 30 Apr 2015 18:56:19 +0000164429 at http://www.adweek.comCondé Nast Entertainment Touts Its Millennial-Friendly Programming at NewFrontshttp://www.adweek.com/news/press/cond-nast-entertainment-touts-its-millennial-friendly-programming-newfronts-164381
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/conde-naste-newfront-hed-2015.jpg"> <p>
If Cond&eacute; Nast Entertainment&#39;s <a href="http://www.adweek.com/news/press/cond-nast-entertainment-touts-upscale-appeal-newfronts-157379" target="_blank">first two NewFronts presentations</a> were all about reinforcing the upscale quality of its content, the company&#39;s third go-round, which took place this afternoon in New York, narrowed the focus to content targeting a younger audience. With a hipper location in TriBeCa&mdash;CNE&#39;s previous NewFronts took place uptown on Park Avenue&mdash;and a mashup of top 40 hits on a loop, the event screamed &quot;millennial.&quot; (Or, to be more precise, &quot;very well-heeled millennial.&quot;)</p>
<p>
The presentation kicked off with a short video asking various media buyers what the NewFronts would be like if millennials ran the show&mdash;one of the more detailed theories involved a Hunger Games-like competition between publishers followed by a party featuring Skrillex, Diplo and PewDiePie, all of which would be livestreamed on Meerkat, naturally&mdash;followed by a recap of CNE&#39;s growth from president Dawn Ostroff. (Highlights included the 4,000-plus pieces of content created by CNE since its inception, 2.5 billion views and last year&#39;s launch of an online digital video portal, The Scene.)</p>
<p>
This year, CNE is set to create more than 2,500 digital videos, including a new stand-alone series called Tyler Zone that will air exclusively on The Scene. The Twilight Zone-themed comedy will star Community&#39;s Danny Pudi and is being presented by Party Over Here, Fox&#39;s development venture with The Lonely Island.</p>
<p>
Having learned that millennials&#39; viewing choices often depend not just on how they feel but on how they <em>want</em> to feel, CNE is grouping its series by emotion (or, technically, &quot;mood state&quot;). The &quot;creative&quot; category includes series like Vanity Fair&#39;s Improv Imagination and GQ&#39;s Best New Menswear Designer; &quot;connected&quot; focuses on relationship and celebrity content, such as Glamour&#39;s dating series The Perfect Match; the &quot;escape&quot; category includes lightweight fare like GQ&#39;s Most Expensivest Shit and its Glamour counterpart, Ladies Who Luxe; and finally, &quot;inspired&quot; comprises more serious content like Teen Vogue&#39;s Salaam Dunk, which follows a women&#39;s basketball team in Iraq.</p>
<p>
The Scene, which launched eight months ago with a handful of partners including BuzzFeed and Major League Soccer, will grow to 40 channels this year with the addition of new partners like Billboard, Pitchfork, CollegeHumor and The Players&#39; Tribune. CNE&#39;s own roster of branded channels will also be expanding with the launch of Vida Belleza, featuring programming aimed at Latina millennials.</p>
<p>
Ostroff ended the presentation with yet another millennial-friendly programming announcement: CNE is getting in on virtual reality, which the audience was invited to experience immediately afterward via Google Cardboard. (If attendees experienced a bit of d&eacute;j&agrave; vu, it&#39;s because The New York Times closed its NewFronts presentation in <a href="http://www.adweek.com/news/press/new-york-times-spotlights-virtual-reality-video-newfronts-164333" target="_blank">exactly the same manner</a> just the day before.) Although the company offered few specific details about its VR plans, Ostroff did reveal that it is working with Jaunt Studios to debut two series&mdash;one scripted and the other unscripted&mdash;this year.&nbsp;</p>
The PressConde NastCondé Nast EntertainmentDigital Content NewFronts 2015NewFrontsOnlineEmma BazilianTue, 28 Apr 2015 23:45:29 +0000164381 at http://www.adweek.com5 Takes on the Challenges and Opportunities of Digital Videohttp://www.adweek.com/news/technology/5-takes-challenges-and-opportunities-digital-video-164309
James Cooper<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/fea-dcnf-roundtable-hed-2015.jpg"> <p>
In advance of the fourth annual <a href="http://www.adweek.com/news/television/guide-2015-newfronts-and-upfronts-164062" target="_blank">Digital Content NewFronts</a>, Adweek, in partnership with the Interactive Advertising Bureau, convened a panel of five industry thought leaders to discuss the challenges and opportunities Web- and mobile-based video pose for traditional media companies, digital native firms and brand marketers. Tamara Alesi, svp, media capability lead at DigitasLBi, Michael Zimbalist, svp, advertising products and R&amp;D at The New York Times, Michael Klein, evp, programming and content strategy at Cond&eacute; Nast Entertainment, Anna Bager, svp, gm of mobile and video at IAB, Rahul Chopra, CEO of Storyful and head of video for News Corp. and Danielle Lee, vp, commercial marketing at Vevo joined the discussion. The panel was moderated by Anna Bager, svp and general manager, video and mobile at the <a href="http://www.adweek.com/news/technology/execs-facebook-microsoft-and-more-will-help-guide-iabs-digital-video-center-excellence-163565" target="_blank">IAB. </a></p>
<p>
Anna Bager: We are honored and I&#39;m very excited to have such a great group of people in the room to talk about what we&#39;re about to soon experience during the NewFronts. I would like to have a conversation around where the largest business opportunities are and also where the creative opportunities and challenges lie.</p>
<p>
So I want to start by asking the traditional publishers in the room who don&#39;t necessarily come from a digital video background, Michael [Zimbalist] and Michael [Klein] and Rahul. Where do you see the greatest opportunities, and do you feel that you&#39;re reaching new audiences?</p>
<p>
Michael Zimbalist: Yes, we are unquestionably reaching new audiences and taking on new capabilities and expressing the content we create in an entirely new form, so the business opportunities are the opportunities of a new business line. And the capabilities are widespread throughout the organizations, such that we can do videos as extensions of our journalism&mdash;but also commercial video for our advertisers.</p>
<p>
Michael Klein: Cond&eacute; Nast Entertainment was created to take these iconic brands and content and leverage them across other platforms. So [that includes] feature films, television, but also importantly digital video where we&#39;re reaching a millennial audience, which is an extension of what we&#39;re seeing touching the brands on all other platforms.</p>
<p>
Rahul Chopra: Video has been core to our method of storytelling and also on a commercial perspective for over four years. We acquired Storyful at the end of 2013, which is really at the nexus of data and content. A couple weeks ago we launched Internet Action Force, a comedy vertical. All of this is leading us to brand-new audiences on brand-new platforms. It&#39;s just a phenomenal way to extend our brand.</p>
<p>
Bager: How are you thinking about new platforms?</p>
<p>
Klein: We&#39;ve launched 17 channels based on our brands. And that content lives on our owned platforms as well as on our own portal The Scene, which is a home for digital-first premium content, not only from our brands but from brand partners. But it&#39;s also distributed widely through Yahoo, AOL, Twitter, Xbox, Roku, Apple TV. It&#39;s about getting the content to consumers on the platforms that they&#39;re using.</p>
<p>
Zimbalist: I would agree; it&#39;s about finding the consumers where they are and getting it to them where they are. So we publish on our own platform all the videos that we make, but we also distribute to other platforms. And in the cases of the videos we&#39;re making commercially for brands, those videos are owned and distributed by the brands. In many cases we&#39;ve had the brands take the videos and distribute them independently on their own channels.</p>
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<p>
Bager: Danielle, you&#39;re representing Vevo, a more pure-play digital video company. How are you thinking about these issues?</p>
<p>
Danielle Lee: It&#39;s absolutely about getting the content to where the viewers are. And everyone loves music. So our strategy has really been about syndicating our content through other publishers&mdash;we have over 50 publishers in our network that we syndicate our players to&mdash;but also having an aggressive app development strategy. That means making the Vevo app available on multiple devices as well as connected TV. It&#39;s very much a cross-screen experience. About 75 percent of our viewers watch Vevo videos across multiple devices.</p>
<p>
Bager: So when it comes to all this content and the content production, is that all done in-house or are you partnering with new types of companies?</p>
<p>
Klein: You know we&#39;ve done over 135 series to date and we work with a variety of content creators. It can be people with a camera and a dream or a large production company. It really depends on the story they want to tell and the audience mood we&#39;re trying to fulfill with it.</p>
<p>
Lee: For us music is at the core of the concept that we&#39;re creating. We&#39;re serving music fans and our mission is to thrill and entertain them. Our content strategy really has been about celebrating music fandom, so a lot about our original [content] is focused on that. Our Certified series is a great example. It showcases videos that get 100 million views and celebrates the fans that got them there. And then there&#39;s music discovery. A lot of fans come to our site and discover new artists, so telling their story is a big part of the concept&mdash;not just the official music video but also the emerging artist&#39;s journey into superstardom.</p>
<p>
Bager: So I want to turn it over to Digitas, the only agency on this panel. Tamara, what are you hearing from buyers and brands about the digital video marketplace?</p>
<p>
Tamara Alesi: Video content has always been important to us as an agency. And it&#39;s really been the year of wow. We think about the fact that our landscape has changed so dramatically, and we&#39;re able to have this amazing conversation with consumers. And you&#39;re just connecting with them in different ways&mdash;whether it&#39;s on their phone, their television, traditional computer or even in the magazine that they grabbed off the newsstand. At the end of the day, we&#39;re able to really just converse and actually move brand metrics in a way like we never have because now we&#39;re able to enable commerce as part of that. So it&#39;s no longer getting the consumer to move across the line. Now we&#39;re using content and video as a storytelling mechanism to really pull them in and be relevant, which is why I think it&#39;s working so well.</p>
<p>
Bager: Do you feel brands are more educated and aware today than they were four years ago?</p>
<p>
Alesi: Absolutely. I think the agencies are always pushing to make sure we&#39;re bringing the most relevant opportunities to the brands that are out there. But at the end of the day we have really great partnerships with everybody who I&#39;m sitting here with now, in terms of how we&#39;re actually not just bringing ideas to the forefront but ultimately, telling a completely different type of story. And actually allowing the consumers to now be part of that story, using influencers to not just influence per se, but actually make consumers brand advocates because they want to be part of it. And I think that the opportunities will just continue to grow. There&#39;s by no means a perfect solution yet, but we continue to reinvent, we continue to have successes and we continue to learn and get better at what we&#39;re doing.</p>
<p>
Bager: So where do you all see the biggest challenges?</p>
<p>
Alesi: There is no identified process for this. It&#39;s not like developing video content for a television series because you&#39;re often working with talent that isn&#39;t actually a commercialized talent per se, but rather an everyday individual that has become a YouTube star. So how you interact with them is very different, their contracts are different. How you interact with your brand to make sure that it still feels real and it&#39;s authentic to the consumer is very different. So I think we have a long way to go, but every time we create a new series or every time we push out a new commercial I think we get better at it.</p>
<p>
Zimbalist: That&#39;s what&#39;s exciting about it too, the conversation you can have with the audience in the digital platform&mdash;it&#39;s something you just do not have in television&mdash;and they&#39;ll let you know if they love it or hate it really quickly. You referenced YouTube stars as digital influencers that have gained significant audience and engagement and are a force to be reckoned with. Digital consumers chose their celebrity and made them&mdash;it wasn&#39;t a studio pushing it down on them. You can really see that the power of programming has been given to the consumer and the TV schedule is not relevant here.</p>
<p>
Chopra: YouTube has played a part in that as well though, right? They have elevated these stars and redefined what the definition of programming is differently.</p>
<p>
Lee: It&#39;s also a testament to the millennial generation. They want to participate and they don&#39;t want to be told what to watch.</p>
<p>
Bager: When you&#39;re talking about music and YouTube, it&#39;s fairly straightforward, but what about news?</p>
<p>
Zimbalist: This phenomenon that we&#39;re referring to has created an opening that allows The New York Times, Cond&eacute; Nast and The Wall Street Journal to enter the video space in a meaningful way because the distribution channels are now open and democratized for us all to take part. We&#39;ve entered it in three distinct ways. One is as an adjunct to the enterprise journalism that we do, so that any important story is going have video associated with it. And those videos can accommodate prerolls and be monetized in a way we could never do with photojournalism, which was an accessory to the journalism. We&#39;ve also taken a lot of our franchises and our sections and turned them into recurring series, which is another completely new entry point for us, and those also can be monetized. And then we&#39;ve created this entirely new business line which is outside of our newsroom, and it&#39;s wholly run by advertising which is to produce videos for brands. Any of these videos can have a scale to worldwide audiences.</p>
<p>
Chopra: We have this amazing opportunity with these new platforms to reach an entirely new audience and tell stories with video that just previously weren&#39;t possible. Early on, the motto we had was that we want to be live when you want it, in-depth when you need it everywhere and anywhere in the world. We are pretty proud of what we were able to build&mdash;and it&#39;s still so early.</p>
<p>
Bager: I want to come back to monetization and the advertising opportunity, but first I want to ask you all what you see as truly premium content?</p>
<p>
Alesi: Premium content is the most sought-after content. That&#39;s how I would look at it and we&#39;ve referred to it as the prime time of digital. It&#39;s not necessarily a time slot during the day, just the content that&#39;s most wanted. When people are looking for news, and they want video, that becomes premium. There&#39;s also a production qualification in terms of what makes something premium. But I don&#39;t think there&#39;s a black-and-white answer.</p>
<p>
Bager: What do you say, Michael?</p>
<p>
Klein: We say performance is the new premium and that means that it&#39;s engaging content, there&#39;s real consumer interest and engagement, that it&#39;s delivering on the advertiser needs for the consumer. And, ultimately, that the consumer feels there&#39;s equity in it and [it] brings them back in wanting more and repeating the sense of urgency and passion that experience gave them and that started building a relationship with the brand. That&#39;s how we look at it.</p>
<p>
Bager: What&#39;s your advice for an advertiser just entering this space with significant budgets to spend in terms of knowing what&#39;s really succeeding with viewers?</p>
<p>
Alesi: Well there&#39;s a lot of data that you need to have in place to be able to properly measure that. We have a really defined tech staff that helps us to answer those questions for our advertisers so that they know that when we&#39;re telling them this is premium and is going to deliver best for them there&#39;s confidence behind that. It&#39;s also about having the data ecosystem in place so that we can continually optimize and measure what&#39;s going on.</p>
<p>
Bager: What KPIs do advertisers care most about when it comes to digital video? What are they asking for?</p>
<p>
Alesi: The right KPIs are about engagement&mdash;the consumer engaging with that content. It&#39;s not about viewability, and it&#39;s definitely not about clicks. Are they spending time with the video? Are they consuming it? And then are they looking for more?</p>
<p>
Lee: One of the things we&#39;ve started looking at are social listening tools to really understand the conversation around our videos. I think that&#39;s a really great indicator for brands to understand how content resonates with audiences.</p>
<p>
Chopra: That&#39;s one of the areas where we&#39;re actually growing Storyful. How can you find the most engaging, the most authentic, the most timely of content and get it either in the hands of publishers to leverage or brands to leverage as well? I think that adding authenticity to engagement plays a big role as well. Especially with the growth of influencers.</p>
<p>
Klein: And especially to the millennial audience. If it&#39;s not authentic, they smell it a mile away and they&#39;ll reject it.</p>
<p>
Alesi: And the more that it&#39;s shared and the more that it is engaged with, the more likely that millennial group is actually willing to talk about it&mdash;which gives it additional legs and makes it even more popular and makes it trend.</p>
<p>
Bager: So we&#39;re talking a lot about millennials. Is that the only group that you can successfully reach?</p>
<p>
Alesi: I don&#39;t think it&#39;s just about millennials. I think every consumer is now capitalizing on digital video, no matter what screen it&#39;s on. Some of the latest stats that have come out from Nielsen and comScore show that less than 50 percent of consumers in general are watching linear TV. So at the end of the day the consumers&#39; habits, no matter the demographic of the audience, have changed dramatically. I&#39;m really interested to see what happens with Apple&#39;s new product in the fall in terms of moving more consumers away from linear TV. No matter who the consumer is they want to get their content when they want it and they&#39;re looking for more economy in doing so. And there&#39;s a lot of solutions via Apple TV that will allow you to get that content where you want it at a better economy.</p>
<p>
Chopra: I think Pew said 35 percent of Americans are consuming digital video and music content. It&#39;s a big number for some of us, and it&#39;s a whole new audience in some ways. The age and demographics are pretty diverse.</p>
<p>
Zimbalist: There&#39;s a new type of consumer emerging who wants video as their primary means of consuming our content, and it&#39;s a segment for sure, but among that segment they watch it pretty voraciously. People who watch video on our site are watching about 30 minutes of video a month, which is probably more than the average that they&#39;re reading. So the engagement, the time, the attention that&#39;s brought through video consumption is something that&#39;s only going to get more important and is only going to deliver better for advertisers over time.</p>
<p>
Klein: Though I would say for Cond&eacute; Nast Entertainment, influential millennials are who we target and that&#39;s who you can learn from in terms of habits of how they&#39;re consuming content. When I look across Cond&eacute; Nast digital, we have more millennials than E! and Lifetime, Oxygen and Bravo combined engaging with our content. So there&#39;s so much to be learned there in terms of how the audience is really engaging with our content.</p>
<p>
Zimbalist: Short form, long form&mdash;it&#39;s all over the place. We have a tremendous amount of content that&#39;s one to three minutes that people watch. We have content that goes up to 10 minutes. We have content that we&#39;ve premiered and turned into full-length documentaries that have been nominated for the Academy Awards. You know there&#39;s kind of like this broad spectrum, and there are viewers for all of it.</p>
<p>
Bager: So what&#39;s the advertising opportunity? How do you monetize this content?</p>
<p>
Alesi: There&#39;s no one specific format that has nailed it. I think it really depends on the type of content you&#39;re in. If you&#39;re within a YouTube-type experience where you have a millennial doing some sort of a showcase on a brand or a product, you want to be short and to the point because you own that experience. And you still need to make sure that whatever the format is that it&#39;s authentic and that it&#39;s tuning into what the consumer is looking for. Otherwise, they&#39;re going to skip it and pass through. We&#39;ve been having so many conversations about viewability as of late&mdash;it&#39;s a bit ad nauseam. The conversation that we&#39;re really trying to focus on is the conversation of attention. If a consumer watches a video for the full 30 seconds and they have the opportunity to skip that video, that means they&#39;re engaged and you&#39;ve made a difference. That should be the core metric because the screen itself is just not optimized to deliver that 100 percent viewability.</p>
<p>
Chopra: I heard somebody say last week that if content is king, then context is God. That&#39;s probably going a bit far. But it&#39;s true that for editorial and for commercial we&#39;re at this golden age of storytelling in some ways, and advertisers need to be thinking about it in that way as well.</p>
<p>
Bager: Discuss the need for standard video ad formats. We recently formed a video board at the IAB with the goal of creating better understanding on what works in video.</p>
<p>
Alesi: It&#39;s hard to create standards for creativity and it totally depends on the category, on the type of plan, on the type of experience that they&#39;re consuming in, and most importantly, the audience. A millennial consumer is going to be less patient with certain types of experiences where you know somebody who&#39;s Gen X or Gen Y are going to be potentially more likely to consume a longer format. So it really depends on who your audience is, but we do have to really lean on our best practices.</p>
<p>
Chopra: The three areas that we look at where there could be some standards are interactivity, commerce and leveraging social content &hellip; how you take the most authentic content that&#39;s been shared across Twitter, Facebook and YouTube and leverage it in a way that everyone is comfortable. As you look at brands getting more and more into the business of creating their own content, they&#39;re realizing very quickly how difficult it is, how expensive it is and how hard it is to get it discovered.</p>
<p>
Bager: So what advice do you have?</p>
<p>
Lee: I still think it&#39;s about tapping into the passion points of your audience and understanding what they care about and aligning your brand with that concept. So it&#39;s really about understanding your consumer.</p>
<p>
Klein: When we look at our development, it&#39;s audience first and what are their mood states that we can fulfill. Do they want to be inspired? Do they want to feel empowered? Do they want to feel creative? We actually have an audience engagement team that sits side by side with development, so that social aspect is baked into the DNA of the project&mdash;it&#39;s not &quot;Let&#39;s pass this off to marketing.&quot; It&#39;s inherent from the start and becomes part of it. And that goes back to that authenticity piece.</p>
<p>
Bager: If you look at the types of ads that we have today&mdash; :15s, :30s, pre- and postroll&mdash;what&#39;s working best?</p>
<p>
Chopra: The interesting part is that the answer we all give today could be drastically different in about nine months. Because when Facebook and Twitter enter the space in a bigger way from a monetization perspective, they&#39;ll have the ability to change the landscape dramatically in regards to the type of ads they allow us to use. They&#39;re going to try and experiment with different things other than traditional preroll. And that will make for an interesting conversation from both our side and the brand side.</p>
<p>
Bager: So back to the NewFronts. What are your expectations? What do you think will be different this year? Will marketers be more engaged than last year?</p>
<p>
Klein: I think it&#39;s so exciting to see how much the industry has exploded in just the past 12 months. You have 33 presentations this year, up about 100 percent from last year. It demonstrates what&#39;s happening in the marketplace and how the advertising world is really embracing digital video. And competition is going to make everybody better. There&#39;s going to be a lot of content being pushed out over the two-week period. And you know we talked earlier about the definition of premium. I think you&#39;re going to see as a result of that, premium is really going to be defined&mdash;because not everybody is going to be playing at the same level.</p>
<p>
Alesi: What I love about it is it shows that we are in a constant state of reinvention. There are so many opportunities if you are a brand to see how you can engage with publishers in unique and inspiring ways. It&#39;s not the same old upfronts that we were all part of for so many years.</p>
<p>
Lee: I&#39;d also say it&#39;s about acknowledging how we&#39;re getting smarter and what&#39;s working and what we&#39;re doubling down on. I find that brands are far more engaged this year than last year. We are having way more first-look NewFront meetings.</p>
<p>
Bager: The research shows that across the board we&#39;re consuming more media on all channels. What do you think NewFronts 2016 will be like?</p>
<p>
Chopra: A lot more about Facebook beyond just YouTube, which will be a big change. And I think continued maturity in the market. If you compared the NewFronts to when they started, or even last year, we&#39;ve all grown up and matured quite a lot. YouTube is probably the best example. Their first show was not very good. Last year was very impressive and will likely be even more so this year.</p>
<p>
Zimbalist: The NewFronts, I believe&mdash;you guys [Digitas] started the NewFronts back in the day&mdash;were always conceived as a marketplace. I think it&#39;s getting to the point where it&#39;s almost becoming that, and people are really coming now ready to transact more than they had in the first couple of rounds. Which is really important and evolutionary and realizing the vision of what this started as four years ago.</p>
<p>
For more insight into the digital video advertising and creative marketplace, see video interviews at <a href="http://www.adweek.com/videos" target="_blank">Adweek.com/video</a>.</p>
TechnologyAnna BagerConde NastDanielle Leedigital videoIabJames CooperMichael KleinMichael ZimbalistNewFrontsRahul ChopraTamara AlesiVevoMon, 27 Apr 2015 02:02:42 +0000164309 at http://www.adweek.comTeen Vogue Debuts Condé Nast's First Sponsored Cover Adhttp://www.adweek.com/news/press/teen-vogue-debuts-cond-nasts-first-sponsored-cover-ad-164185
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/tresemme-teen-vogue-hed-2015.jpg"> <p>
Kylie Jenner has been the subject of plenty of online buzz this week for landing <a href="https://www.yahoo.com/beauty/kylie-jenner-lands-the-may-teen-vogue-cover-116582036243.html" target="_blank">her first solo Teen Vogue cover</a>, but it won&#39;t be the reality star&#39;s face subscribers see when they receive their music-themed May issue. That&#39;s because Teen Vogue&mdash;in a first for parent company Cond&eacute; Nast&mdash;is getting in on the growing cover ad trend with a false cover sponsored by hair-care line Tresemm&eacute;.</p>
<p>
In addition to the cover, Tresemm&eacute;&#39;s sponsorship, which focuses on festival style, includes an advertorial on the inside flap with tips on how to get Jenner&#39;s cover look, a pair of online video tutorials produced by Cond&eacute; Nast Entertainment, an Instagram contest, and various posts on Teen Vogue&#39;s website and social channels.</p>
<p>
Jason Wagenheim, publisher and CRO of Teen Vogue, believes that the magazine&#39;s young audience is likely to be more receptive to a sponsored cover than their older counterparts might be. &quot;I think that the younger half of millennials, which we service, is being brought up in a new age that expects this type of integration from sponsors,&quot; he said. &quot;It&#39;s not an ad in their face.&quot;</p>
<p>
&quot;By integrating Tresemm&eacute; into already existing editorially-driven concepts, we&#39;re able to make an authentic connection between the brand and Teen Vogue&#39;s audience,&quot; said Jennifer Daly, marketing director of salon-inspired hair-care brands at Unilever.</p>
<p>
&quot;We&#39;re proud of this unit and it&#39;s indicative of how we intend to do our business moving forward,&quot; added Wagenheim, who said there are two more sponsored covers in the works for 2015.</p>
<p>
Cover ads have been a hot topic in the magazine industry of late. ASME released an <a href="http://www.magazine.org/asme/editorial-guidelines" target="_blank">updated version of its native ad guidelines</a> last week that loosened restrictions on publishers. (The previous version included blunt statements like &quot;Don&#39;t Print Ads on Covers&quot; and &quot;Don&#39;t Ask Editors to Write Ads.&quot;)</p>
<p>
&quot;It was the ASME board&#39;s judgment that you could put an ad on the cover&hellip; and that an ad on a cover would not necessarily bring into question the editorial integrity of a magazine as long as it was clear that it was an ad,&quot; said ASME chief executive Sid Holt. &quot;I&#39;m not uncomfortable with [the trend]. We work in an advertiser-supported medium, and as far as I&#39;m concerned, any execution that is transparent to the reader is not an issue&quot;</p>
<p>
While the Teen Vogue sponsored cover is Cond&eacute;&#39;s first, other publishers have experimented with them during the past year or so. Subscriber copies of Cosmopolitan&#39;s May 2014 issue featured a <a href="http://wwd.com/media-news/fashion-memopad/cosmo-under-the-covers-7626142/" target="_blank">peel-away cover</a> sponsored by L&#39;Oreal&mdash;at the time, editor in chief Joanna Coles presciently commented, &quot;I suspect we&#39;ve unleashed a trend.&quot; And last month, fellow Hearst glossy Marie Claire <a href="http://www.adweek.com/fishbowlny/marie-claire-cover-is-one-giant-ad/336354" target="_blank">ran its own sponsored subscriber cover</a> featuring a kaleidoscope of Stuart Weitzman shoes. Over at Time Inc., <a href="http://www.adweek.com/fishbowlny/this-is-the-end-time-inc-starts-selling-ads-on-magazine-covers/215424" target="_blank">flagship title Time </a>featured a minuscule Verizon ad on mailing labels last spring. Forbes, unsurprisingly, has <a href="http://www.adweek.com/fishbowlny/forbes-gives-up-puts-sponsored-ad-on-cover/332417" target="_blank">pushed the envelope</a> the furthest, placing a (not-so-clearly-labeled) native ad among its regular cover lines in February.</p>
<p>
Wagenheim told Adweek that the Tresemm&eacute; cover remains within the ASME guidelines, new and old. &quot;The ASME guidelines are about servicing the reader first and foremost,&quot; he said, &quot;and I believe that, with the help of a sponsor, we&#39;ve created high-value impact with additional content that services our reader first.&quot;</p>
The PressConde Nastnative adssponsored contentTeen VogueTRESemméEmma BazilianMagazineTue, 21 Apr 2015 20:18:55 +0000164185 at http://www.adweek.comSelf Launches New Millennial-Targeted Fitness Eventhttp://www.adweek.com/news/press/self-launches-new-millennial-targeted-fitness-event-163636
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/self-got-april-cover-01-2015.jpg"> <p>
It&#39;s been nearly a year since Self underwent a major <a href="http://www.adweek.com/news/press/cond-nast-shakes-self-updated-156749" target="_blank">management shake-up</a>, with <a href="http://www.adweek.com/news/press/qa-under-new-eic-joyce-chang-self-magazine-mixes-fitness-fashion-162834" target="_blank">Joyce Chang</a> joining the fitness title as editor in chief and <a href="http://www.adweek.com/news/press/mary-murcko-returns-cond-nast-publisher-self-156778" target="_blank">Mary Murcko</a> taking over as vp, publisher. Since then, the Cond&eacute; Nast magazine has undergone a head-to-toe makeover meant to appeal to a younger (and more affluent) millennial audience. Now, Self is overhauling its experiential offerings with the debut of a new event platform based on the magazine&#39;s Up &amp; Out editorial platform</p>
<p>
Self Up &amp; Out Studio, which will take place at Spring Studios in New York on June 27 and 28, will offer classes from celebrity trainers and trendy fitness programs across the country, including Barry&#39;s Bootcamp, City Row, Pure Barre and Plyojam. While the event will take place only in New York this year, Murcko hopes to expand to other cities beginning in 2016.</p>
<p>
Until this year, Self&#39;s flagship event had been Workout in the Park, a massive annual fitness festival in Central Park. According to Murcko, the new Up &amp; Out Studio is more closely aligned to the &quot;new&quot; Self reader&#39;s fitness needs, such as trying new workouts, personalizing her fitness routine and, of course, associating with trendy brand names.</p>
<p>
&quot;This really plays to what women&mdash;particularly what our affluent readership&mdash;want now,&quot; said Murcko. &quot;Whereas Workout in the Park was all about a lot of people doing the same thing, this is more about people wanting to try new things in smaller groups. The idea of discoverability is huge.&quot;</p>
<p>
In addition to classes, Up &amp; Out will have activations focused on beauty, fashion, nutrition and tech, featuring sponsors like Chantelle, Tampax and Ortholite. Consumers will be able to buy tickets beginning May 1, or pre-register at <a href="http://promotions.self.com" target="_blank">promotions.self.com</a>.</p>
The PressConde NastFitnessMillennialsSelfUp & Out StudioEmma BazilianTue, 24 Mar 2015 04:01:01 +0000163636 at http://www.adweek.comGender Equality Campaign Erases Women From Billboards and Print Adshttp://www.adweek.com/news/technology/gender-equality-campaign-erases-women-billboards-and-print-ads-163352
Lauren Johnson<img src="http://www.adweek.com/files/imagecache/node-detail/uploads/kate-spade-not-there-hed-2015.png"> <p>
Despite a longstanding effort to get women&#39;s rights on par with men&#39;s, women hold 58 percent fewer executive positions than men in Italy. And in Croatia and Argentina, 42 percent of women have fewer top-level jobs than men, according to new research from the Clinton Foundation.</p>
<p>
<img img="" src="http://www.adweek.com/files/uploads/conde-nast-window-before-after-04-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img src="http://www.adweek.com/files/uploads/Dove-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /></p>
<p>
To coincide with International Women&#39;s Day on Sunday, the Clinton Foundation (an initiative spearheaded by Bill, Hillary and Chelsea Clinton) released data that looks at how women&#39;s equality has changed since 1995 as part of its <a href="http://notthere.noceilings.org/" target="_blank">No Ceilings </a>initiative. Back in 1995, Hillary Clinton sparked the research during the <a href="http://www.un.org/womenwatch/daw/beijing/tue5.htm" target="_blank">U.N.&#39;s Fourth World Conference on Women</a>&nbsp;in Beijing. While the research shows that women&#39;s rights are catching up to men&#39;s, there is still work to do.</p>
<p>
This weekend the foundation launched a campaign with Droga5 that underscores the fact women &quot;still aren&#39;t there&quot; in gender equality. Unilever, iHeartMedia, Beats by Dre, Simon &amp; Schuster, Kate Spade, the New York City Ballet, Under Armour, H&amp;M, Zalla Pilates, Diane von Furstenberg, Snapchat and Cond&eacute; Nast all teamed up with the organization with creative content that literally wiped women away.</p>
<p>
For example, Kate Spade released billboards in New York last week for its <a href="http://fashionista.com/2015/02/kate-spade-spring-2015-campaign" target="_blank">spring 2015 campaign </a>featuring fashion model Karlie Kloss sitting on a park bench.</p>
<p>
<img img="" src="http://www.adweek.com/files/uploads/hm-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /><img img="" src="http://www.adweek.com/files/uploads/MonaLisa-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/nyc-ballet-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/Rebecca-Minkoff-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/Rosie-the-Riveter-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /></p>
<p>
But on Friday, the brand replaced its billboards on 45th Street and the West Side Highway, and in Times Square with an almost identical picture of an empty park bench. The Web address&nbsp;<a href="http://notthere.noceilings.org/" target="_blank">not-there.org</a> replaces Kloss&mdash;directing viewers to the No Ceilings campaign hub.</p>
<p>
Check out the video below to see how other brands activated the campaign on billboards and on print ads.</p>
<p>
&quot;Empowering women is really at the core of our DNA&mdash;back in 1993 Kate Spade was frustrated that she couldn&#39;t find what women were looking for in the marketplace, so she took matters into her own hands and formed Kate Spade New York,&quot; said Mary Beech, Kate Spade&#39;s CMO.</p>
<p>
<iframe allowfullscreen="" frameborder="0" height="367" src="https://www.youtube.com/embed/RBhLkRICmGE" width="652"></iframe></p>
<p>
Here are some other eye-opening findings from the Clinton Foundation&#39;s research:</p>
<ul>
<li>
Nine countries in the world (including the U.S.) don&#39;t provide paid maternity leave. The eight other countries are: Palau, Tonga, the Marshall Islands, Micronesia, Niue, Papua New Guinea, Nauru and Suriname.</li>
<li>
In countries like Norway, the U.S. and India, women spend up to five extra hours on unpaid domestic work per day.</li>
<li>
Globally, moms are 42 percent less likely to die of pregnancy complications than they were in 1995. &bull; 71 percent of national constitutions entitle women to attend primary school, but only 32 percent protect the right to attend middle and high school.</li>
<li>
One in three women suffer from physical violence, even though 76 out of the 100 countries studied have laws against domestic violence.&nbsp;</li>
<li>
In developing countries, 200 million fewer women than men have access to the Internet.</li>
</ul>
<p>
<img img="" src="http://www.adweek.com/files/uploads/Simon-and-Schuster-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/teen-vogue-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/Top-Chef-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/beats-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /> <img img="" src="http://www.adweek.com/files/uploads/Under-Armour-before-after-01-2015.jpg" style="margin-top: 15px; margin-bottom: 15px;" /></p>
<p>
<strong>Credits</strong><br />
Client: The Clinton Foundation<br />
Campaign: Not There<br />
Launch Date: March 8, 2015</p>
<p>
Agency: Droga5 NY<br />
Creative Chairman: David Droga<br />
Vice Chairman: Andrew Essex<br />
Chief Creative Officer: Ted Royer<br />
Executive Creative Director: Kevin Brady<br />
Creative Director: Casey Rand<br />
Creative Director: Karen Land Short<br />
Copywriter: Colin Lord<br />
Art Director: Inna Kofman&nbsp;&nbsp;<br />
Chief Creation Officer: Sally-Ann Dale<br />
Head of Broadcast Production: Ben Davies<br />
Broadcast Producer: Verity Bullard<br />
Head of Art Production: Cliff Lewis<br />
Art Producer: Sharon Mendelow<br />
Art Production Assistant: Robert Ohman<br />
Photographer: Paul McGeiver<br />
Executive Print Producer: Jeannie O'Toole<br />
Senior Print Producer: Cindy Perez<br />
Lead Production Artist: Chris Thomas<br />
Retouchers: John Ciambriello<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; John Clendenon<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Shari Alexander<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jessica Faller<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tomohisa Kinoshita<br />
Quality Control Manager: Lisa Bishai<br />
Retouching Coordinator: Michelle Leedy<br />
Principal Interactive Developer: Simon Abrams<br />
Senior Interactive Developer: Jim Alexander<br />
Interactive Developer: Judith Desire<br />
QA Engineer: Yadira Issac<br />
Interactive Producer: Benny Goldman&nbsp;&nbsp;<br />
UX Director: Daniel Perlin<br />
Associate Director of Technology: Keath Chan<br />
Global Chief Strategy Officer: Jonny Bauer<br />
Group Strategy Director: George Bennett<br />
Strategy Director: Katy Alonzo<br />
Head of Communications Strategy: Colleen Leddy<br />
Communications Strategist: Elsa Stahura<br />
Head of Data Strategy: Melissa Zimyeski<br />
Data Strategist: Michelle Pliskin<br />
General Manager/Head of Account Management: Susie Nam<br />
Group Account Director: Heidi Rick<br />
Account Manager: Lucy Santilli<br />
Senior Project Manager: Bianca Jose</p>
<p>
Clinton Foundation<br />
Director, No Ceilings: Terri McCullough<br />
Digital Director: Katie Dowd<br />
Chief Communications Officer: Craig Minassian<br />
Director of Communications, Initiatives: Mimi Reisner<br />
Senior Communications Advisor, Office of Chelsea Clinton: Kamyl Bazbaz<br />
Communications Manager: Francesca Ernst</p>
<p>
Production Company: Park Pictures<br />
Director: Alison Maclean<br />
Executive Producer: Jackie Kelman Bisbee/Dinah Rodriguez<br />
Producer: Christopher Grove</p>
<p>
Additional Filming: Droga5 Studios | Fim<br />
Line Producer: Jessica Bermingham<br />
DP: Alex Cullen</p>
<p>
Editorial: Droga5 Studios | AV<br />
Editor: Joseph Schulhoff</p>
<p>
Post Production: The Mill NY&nbsp;<br />
Executive Producer: Melanie Wickham<br />
Production Co-ordinators: Alex Bader and Devan Saber<br />
Animator/Designer: Chris Mennuto</p>
<p>
Music: APM Music<br />
Sound Production: Edge Studios</p>
Advertising & BrandingTechnologyConde NastH&MInternational Women’s DayKate SpadeLauren JohnsonThe Clinton FoundationUnder ArmourMon, 09 Mar 2015 17:15:05 +0000163352 at http://www.adweek.comVanity Fair Courts Oscar Bloggers With a Twitter Vending Machine and Pop-Up Newsroomhttp://www.adweek.com/news/technology/vanity-fair-courts-oscar-bloggers-twitter-vending-machine-and-pop-newsroom-163009
Michelle Castillo<img src="http://www.adweek.com/files/imagecache/node-detail/uploads/vfsched2015.png"> <p>
Besides the Academy Awards, probably the most notable Oscars event is the Vanity Fair after-party. And now the magazine is becoming known for a before-party of sorts&mdash;a week-long series of events for entertainment bloggers and social media influencers.&nbsp;</p>
<p>
<a href="http://promotions.vf.com/tag/campaign-hollywood-2015" target="_blank">Campaign Hollywood</a> is an invite-only program taking place across Los Angeles this Tuesday through Friday. While the event is a few years old, organizers say this is the biggest year yet. About 270 bloggers are registered to attend, extending Vanity Fair&#39;s reach to their 119.4 million readers.</p>
<p>
&quot;The obvious benefit is it continues the attention and the number of press impressions for us and, of course, our sponsor partners,&quot; Vanity Fair publisher Chris Mitchell said. &quot;Last year, we got an all-time high in media impressions and an increase in the number of bloggers around our events. This year, we&#39;re hoping we can top that again.&quot;</p>
<p>
For example, Mitchell explained that as an incentive to write about the event, attendees can use a &quot;Twitter vending machine,&quot; which rewards them for their tweets. Every mention earns points, which can be redeemed for prizes ranging from cocktail shakers to jewelry.</p>
<p>
To get work done, bloggers can head to the Vanity Fair Social Club (#VFSC), a pop-up newsroom that allows online writers to congregate.&nbsp;</p>
<p>
Mitchell said this year&#39;s schedule has 50 percent more programming than last year, and sponsors Chrysler, L&#39;Or&eacute;al Paris, Clarisonic, Giorgio Armani Beauty, Lancome and Grey Goose have also come on board. Participants can meet the cast of Boyhood, courtesy of Chrysler and IFC. L&#39;Or&eacute;al Paris is sponsoring a DJ night hosted by Freida Pinto. And each event is aligned with a charity.&nbsp;</p>
<p>
&quot;Mobile, digital and social media has significantly changed the way in which women receive beauty news, research products and shop for looks,&quot; Malena Higuera, svp of marketing for L&#39;Or&eacute;al Paris, wrote via email. &quot;It&#39;s important for us to work with influencers and digital journalists to give women content at the speed of culture, wherever they are, by providing inspiration, service and education on how to get the red carpet look.&quot;</p>
Technology2015 Academy Awards2015 OscarsConde NastOnlineSocialMichelle CastilloVanity FairWed, 18 Feb 2015 17:21:45 +0000163009 at http://www.adweek.comCondé Nast's Epicurious Gets a Tech-Savvy Makeoverhttp://www.adweek.com/news/press/cond-nasts-epicurious-gets-tech-savvy-makeover-162738
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/epicurious-desktop-site-hed-2015.jpg"> <p>
The long-awaited relaunch of Cond&eacute; Nast recipe platform <a href="http://www.epicurious.com/" target="_blank">Epicurious</a> finally rolled out this morning, boasting a fresh look and a tagline as &quot;the ultimate food resource.&quot;</p>
<p>
The core mission of the redesign was to create a utility for home cooks that would combine the site&#39;s trademark recipe curation with a new focus on technology and personalization, said Pamela Drucker Mann, publisher and chief revenue officer of The Food Innovation Group (which includes both Epicurious and Bon App&eacute;tit).</p>
<p>
The new site features a more streamlined design that places the most-used features front and center. The search bar is now the focus of the homepage and includes a new auto-complete function and displays trending search terms. (Eventually, the site will be able to tailor your search results based on your recipe-viewing history.) A new slideshow format allows viewers to click through multiple pictures on a single page. There&#39;s also a heavier emphasis on high-quality photography, with more in-house shoots replacing stock images.</p>
<p>
Editorially, the core strategy remains quality over quantity. &quot;We don&#39;t have the biggest recipe database on earth, but we have the right recipes,&quot; said Epicurious executive director Eric Gillin. In addition to content created by Epicurious editors&mdash;such as the &quot;How to Cook Now&quot; launch package&mdash;which includes a guide on how to make a Shake Shack burger at home&mdash;the site will also include selected recipes from Food52 and HarperCollins Publishers.</p>
<p>
For visitors who aren&#39;t sure what to cook, the site has two new high-tech tools, Cook It and Food Forecast, to suggest recipes. The Lexus-sponsored Cook It, which Gillin described as &quot;Tinder for recipes,&quot; asks users whether or not they would cook a handful of different recipes and then suggests dishes based on those answers using an artificial intelligence algorithm.</p>
<p>
Food Forecast, created with and sponsored by The Weather Channel, suggests recipes based on the weather conditions in the user&#39;s current location. The Food Forecast widget will also appear on The Weather Channel to promote the Epicurious relaunch.</p>
<div class="news-article-image" style="float: right;margin: 15px 0px 15px 15px;">
<img src="/files/imagecache/node-detail/new-york-food-forecast-01-2015.jpg" /></div>
<div class="news-article-image" style="float: right;margin: 15px 0px 15px 15px;">
&nbsp;</div>
<p>
In addition to Lexus, the site&#39;s launch sponsors include JCPenney (which will be rolling out a line of Epicurious-branded cookware on Feb. 5) and Nutella. About half of the advertising on Epicurious.com will be dedicated to native, said Drucker Mann.</p>
<p>
The new Epicurious is the result of a year and a half of constant strategy and leadership changes. In October 2013, Travel + Leisure alum Nilou Motamed was brought in as editor in chief to lead a (never fully realized) relaunch with an increased focus on lifestyle and travel content. Then, last August, it was announced that fellow Cond&eacute; brand Bon App&eacute;tit would be taking control of Epicurious, with Bon App&eacute;tit&#39;s editor in chief Adam Rapoport overseeing editorial content and Drucker Mann overseeing ad sales. Finally, in September, Motamed departed Epicurious and was replaced by Gillin, who had previously been the site&#39;s director of product.</p>
<p>
According to Drucker Mann, Gillin&#39;s experience on the product side made him the ideal person to lead the new site. &quot;The great thing is that he understands both content and technology,&quot; she said. &quot;He can help come up with the idea but also knows how to make it work.&quot;</p>
<p>
&nbsp;</p>
The PressConde NastEpicuriousFoodOnlineTue, 03 Feb 2015 12:00:01 +0000162738 at http://www.adweek.comLucky Is Carving Out an E-Commerce Identity by Putting Readers, Not Products, Firsthttp://www.adweek.com/news/press/lucky-carving-out-e-commerce-identity-putting-readers-not-products-first-161308
Emma Bazilian<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/gillian-gorman-lucky-01-2014.jpg"> <p>
This summer, Lucky, the 14-year-old &quot;magazine about shopping,&quot; made a surprising announcement: It was merging with e-commerce company <a href="http://www.beachmint.com" target="_blank">BeachMint</a> and <a href="https://www.google.com/webhp?sourceid=chrome-instant&amp;ion=1&amp;espv=2&amp;ie=UTF-8" target="_blank">spinning off from Cond&eacute; Nast</a> as an independent company. In addition to the existing print magazine, the new Lucky Group will include a website with a heavy e-commerce focus, set to launch early next year. The Lucky Group&#39;s president, former L&#39;Or&eacute;al marketing executive Gillian Gorman Round, sat down with Adweek to talk about the marriage of magazines and online shopping, what she likes in an ad and Lucky&#39;s new direction.</p>
<p>
<strong>Adweek: You were recently selected as a Clio Image Awards juror where you&#39;ll be choosing the year&#39;s best integrated campaign. What do you think makes for a successful integrated campaign?</strong><br />
<strong>Gillian Gorman Round:</strong> I think you have to start with what makes a really good campaign, which is some form of hook that you use to reach your target audience. Whether it&#39;s an outdoor campaign only or it&#39;s social and Web and print and TV, the starting point is the same. For me, what makes a good integrated campaign is a marketer understanding what each of the different mediums needs to do as a role within the campaign. Sometimes it&#39;s about deciding not to use a medium. I see some clients who want to do all things simultaneously, but my sensibility is that it&#39;s more about what&#39;s right for your brand, your message and your consumer.</p>
<p>
<img src="/files/gillian-gorman-lucky-02-2014.jpg" style="float: right; margin-top: 15px; margin-bottom: 15px;margin-left:15px;" /></p>
<p>
<strong>It&#39;s often said that there&#39;s much less risk-taking in advertising, especially when it comes to fashion brands. Why do you think that is?</strong><br />
There are a lot of other factors and interests around board tables in some of these companies now, and so the ultimate owners might have less taste for risk. Also, many campaigns now have to be global campaigns, and what is acceptable in one culture versus another is very different. Brands are catering to the safest common denominator.</p>
<p>
<strong>What are some of your favorite recent campaigns?</strong><br />
Thinking about the world of fashion, <a href="http://www.adweek.com/news/advertising-branding/brand-day-chanel-no-5-finds-new-muse-stunning-gisele-b-ndchen-160805" target="_blank">I love what Chanel&#39;s doing at the moment</a> with their fashion and accessories campaigns. They are really mixing up their model choice--it&#39;s younger, it&#39;s funkier, but it&#39;s still so Chanel. The fact that they&#39;re juxtapositioning a model with pink hair and a nose ring and a boucl&eacute; jumper is very cool. I also love the <a href="https://www.youtube.com/watch?v=7wH9mXS_0eA" target="_blank">Prada campaign with James McAvoy.</a> He&#39;s not a traditional Hollywood heartthrob. He&#39;s an intelligent actor, and I think that the campaign reflects that, which is to his advantage and to the brand&#39;s advantage. Outside the world of fashion, the campaign that had me weeping was the <a href="http://www.adweek.com/news/advertising-branding/ad-day-it-wouldnt-be-mothers-day-without-pg-making-you-weep-157519" target="_blank">Procter &amp; Gamble &quot;Thank You Moms&quot;</a> campaign. It made me think of P&amp;G as not a conglomerate of different brands but as something with a soul. Emotion is a very useful tool in advertising.</p>
<p>
<strong>This fall, Lucky officially spun off from Cond&eacute; Nast. E-commerce will be a major focus of the new company, but when you look at magazines that have attempted to get into e-commerce, no one has really succeeded. Why do you think your strategy will be successful?</strong><br />
Many traditional media companies have attempted commerce. We did years back with My Lucky Shops, which was a big deal at the time. What I always say is this: You can really, truly only integrate commerce into your customer proposition if you are going to evolve your business model to completely integrate technology as a core functionality, and that is what we are doing. What makes us different is the fact that no [media company] has had this model where we control our own technology, we control our own data, and we&#39;re able to service the customer soup to nuts.</p>
<p>
<strong>Lots of e-commerce companies, like Net-a-Porter and Shopbop, have been adding more editorial content. How will the content-commerce relationship be different at Lucky?</strong><br />
I&#39;m a big fan of <a href="http://www.net-a-porter.com" target="_blank">Net-a-Porter</a>, and I have enormous respect for what they&#39;ve done. They start with product, though. All of their content is engineered around their product. When I go to Net-a-Porter to look for a pair of skinny jeans, I&#39;m not taking their editorial content and then shopping from that. They would like me to, but I don&#39;t. What will be different about us is that some people will come to Lucky and simply consume content. It&#39;ll be great entertainment content about what happened at Paris Fashion Week, great street style, Oscar de la Renta&#39;s best looks. But that is going to be absolutely woven among content that takes an editor&#39;s inspiration and lets the reader shop it. It&#39;s a totally seamless experience.</p>
<p>
<strong>Will Lucky still be producing content that&#39;s not shoppable, like personal essays or interviews?</strong><br />
The magazine doesn&#39;t really change. The only thing that changes is that if you&#39;re seeing something like one of our franchises, like Editor&#39;s Picks or <a href="http://www.luckymag.com/search?query=line+we+love&amp;sort=score+desc" target="_blank">Lines We Love,</a> you&#39;re going to be able to discover more about that product, that style, that editor, online. But we still want to and we still need to completely satisfy our print consumer who loves those witty essays about wearing all black or whatever it is. Print is the first-person equity of the brand. There&#39;s a reason why Net-a-Porter launched Porter or why One Kings Lane sends out a catalog every so often.</p>
<p>
<strong>How have things changed for Lucky post-Cond&eacute; Nast?</strong><br />
I like to think that we have the heft and the gravitas of Cond&eacute; Nast, but we also have the spirit and the independence of a startup 2.0. Our biggest revenue stream is advertising, but the advertising market has changed, and it&#39;s going to continue to change. So the fact that we are our own company allows us to work in a different way with the advertising community. We own our own engineering, we own our own data. We will understand everything about our customer, which is incredibly powerful for our advertisers. But we have the best-in-class credentials of Cond&eacute; Nast.</p>
The PressClio Image AwardsCommerceConde Naste-commerceGillian Gorman RoundEmma BazilianL'OréalLuckyMagazine ContentNet-a-Porteronline shoppingtraditional mediaMon, 10 Nov 2014 05:02:38 +0000161308 at http://www.adweek.comSelf Makes 2 Key Hires as It Continues Its Reinventionhttp://www.adweek.com/news/press/self-makes-2-key-hires-it-continues-its-reinvention-161095
Emma Bazilian<p>
It&#39;s been just about six months since Joyce Chang, the former executive editor of Cosmopolitan, <a href="http://www.adweek.com/news/press/cond-nast-shakes-self-updated-156749" target="_blank">officially took over </a>as the new editor in chief of Cond&eacute; Nast lifestyle title Self&mdash;and quickly eliminated a number of top editors. Now, with two fully overhauled (and Anna Wintour-approved) issues under her belt, Chang is continuing to rebuild the magazine&#39;s staff with two key hires.</p>
<div class="news-article-image" style="float: right;margin: 15px 0px 15px 15px;">
<img class="fancyzoom" data-fancybox-src="/files/imagecache/node-detail/self-olivia-munn-01-2014.jpg" src="/files/imagecache/test-width/self-olivia-munn-01-2014.jpg" /></div>
<p>
For Self&#39;s new fitness director, Chang raided her old stomping grounds at Cosmopolitan, hiring the magazine&#39;s senior editor Liz Baker Plosser. In addition to overseeing Cosmo&#39;s health and fitness coverage, Plosser was also the editorial director of CosmoBody, the magazine&#39;s on-demand subscription fitness channel that launched this past July.</p>
<p>
Chang also took a page from the Cosmo playbook, at least in terms of hiring editors with highbrow journalism cred, in appointing Tatiana Boncompagni as the magazine&#39;s new lifestyle director. Boncompagni is a regular contributor to The New York Times and Financial Times, and previously worked at American Lawyer and The Wall Street Journal Europe.</p>
<p>
Even with the recent changes to the magazine&mdash;including a completely new look, more Vogue-like covers and elevated fashion sensibility&mdash;Self&#39;s audience remains on a slight decline. According to the MPA&#39;s new Magazine 360 report, which measures magazine brands&#39; audiences across print and tablet editions, Web, mobile and video, Self&#39;s total audience fell 2.5 percent between September 2013 and September 2014. (Those numbers, however, did not include viewership stats from Self&#39;s Cond&eacute; Nast Entertainment digital video channel.)</p>
The PressConde NastCosmopolitanJoyce ChangSelfMagazineThu, 30 Oct 2014 20:04:54 +0000161095 at http://www.adweek.com